THE ART OF LIVING

DANGEROUSLY
EXCHANGE, MMM,
new economics foundation (nef)
First published in the United Kingdom 2013 by Mission Models Money and Exchange.
The Art of Life is licensed under a Creative Commons Attribution-ShareAlike 3.0
Unported License by Mission Models Money and Exchange. We actively encourage reproduction in all
forms, by all means electronic, mechanical, recording or otherwise.
Typeset by: Wideopenspace - www.wideopenspace.co.uk
Front cover by: Wideopenspace, adapted from The Art of Life - Understanding How Participation in Arts
and Culture Can Affect Our Values.
3
Acknowledgements
This provocation was commissioned by Exchange, a group of performing arts practitioners and
organisations based in Tyneside, including Ballet Lorent, The Empty Space, Northern Stage and Nikolas
Barrera. Especial thanks to Natalie Querol of The Empty Space, Edmund Nickols of Northern Stage and
Nikolas Barrera.
Lead authors and researchers were Shelagh Wright, Associate, Demos, Associate, Culture+Conict,
Director, john3shelagh, Director, MMM with Mark Robinson, Thinking Practice, MMM Associate, Natalie
Querol, Director, The Empty Space and Sarah Colston, previously at new economics foundation (nef).
Especial thanks to Charlie Tims, John Kieffer and Kate Oakley for their editorial contributions and to all
those who came to the Theory of Change workshop which formed part of the research.
Contents
Acknowledgements 3
Summary 5
About the project 8
Introduction 9
Section 1: Culture and Sustainable Development 11
Section 2: A Theory of Change 23
Section 3: Learning the Art of Living Dangerously 28
Conclusion 32
What Next? 33
5
Summary
Exchange (a group of performing arts practitioners and organisations based in Tyneside, including
Ballet Lorent, The Empty Space, Northern Stage and Nikolas Barrera) commissioned this provocation
from Mission Models Money (MMM) and the new economics foundation (nef). It is concerned with three
inter-linked issues: the role of arts and culture within sustainable economic development; how artists
and other creative practitioners can contribute to sustainable development and nally how to ensure
artists and creative practitioners are able to achieve sustainable livelihoods throughout their life-cycles,
especially as emergent independent artists.
The Art of Living Dangerously urges all those working with arts and culture to rethink their contribution to
a vision of sustainable development that benets the whole of society
1
. Faced by the challenges created
by environmental degradation, increasing social injustice and the aftershocks of the global nancial
crisis, this task becomes more urgent than ever. The aim of this paper is to contribute to the development
of that new vision by illuminating the role that artists and creative practitioners have in developing
sustainable economies, i.e. those that are economically viable, environmentally sound and socially
responsible (IUCN 2006).
Active participation in arts and culture develops ideas and imagination that challenge the status quo,
builds capabilities such as resilience, the collaborations that enable active citizenship and the creation
of enterprises motivated by much more then prot. This is the sustainable basis of the huge economic
impact of the cultural sector, as well as its contribution to how people feel about themselves and where
they live, rather than just as a contributor to growth led consumption culture. Artists and creative
practitioners can invigorate communities both through the work they make but also their presence
in local life. Artists and creative practitioners are, Exchange argues, key workers and entrepreneurs
in the development of healthy and sustainable communities, modelling ways of living that exemplify
adaptability, resilience and innovation and contributing to local economies in ways that enhance rather
than diminish wellbeing.
The message of the paper is that the livelihoods of artists and the sustainable development of people
and places are interlinked issues. It imagines a future where public interventions do more to support the
livelihoods of artists. And these livelihoods, often deeply precarious, help sustain the public life of towns,
cities and villages. To achieve this vision, public policy should be concerned equally with artists ability to
achieve sustainable livelihoods and take risks, as it is with funding their work per se. The arguments for
the value of arts and culture in a general sense are well rehearsed and are now part of the language of
cultural policy and urban regeneration. But to start to understand the actual and potential contribution of
artists and creative practitioners, we have to concentrate less on what arts and culture do and more on
what artists actually do, how they live, take risks and how they could achieve more sustainable livelihoods
2
.
1. Sustainable development is development that meets the needs of the present without compromising the ability of future generations to
meet their own needs Our Common Future, Bruntland Report 1987
2 A livelihood comprises people, their capabilities and their means of living, including food, income and assets. Tangible assets are
resources and stores, and intangible assets are claims and access Chambers and Conway, 1991
6
If these multiple contributions to our cities, towns and communities are to meet their potential in ensuring
that our economy functions sustainably into the future then the health of the arts and cultural sector
and the current fragile reality of individual artists and creative practitioners must be urgently addressed.
Evidence shows that the majority of individual artists and creative practitioners have extremely low and
precarious incomes, and are often dependent on partners and families to be able to make their work
3
.
There is huge concern that arts and culture will become the domain only of the privileged and therefore
less diverse. Living as an artist or creative practitioner may always be a risky business, but it needs to
be more possible for a greater diversity of people of all backgrounds if our society is to strengthen the
foundations for a more sustainable economic future.
The paper is divided into 3 sections. In section 1 we look at how to understand the role of arts and culture
within sustainable economic development. We begin by looking at the state of the UK economy, and the
search for ways to x it. We argue that the problem of the economy is not its failure to grow, but the kind
of damaging growth it promotes and the value it misses. We argue that this has distorted cultural policy,
leading policy makers to become overly xated with what culture does over a wider understanding
of who artists are, how they create, work, learn and shape a living. Overlooking artists livelihoods
has contributed to a perceived separation between artists and society and worst of all has created an
indifference to who gets to become an artist. As a start to seeing this right, we suggest how culture can
be situated within a framework of sustainable development. This gives economists a different perspective
on growth, and cultural policy makers an understanding of the value of artists and creative practitioners
that starts from what they do and how they live, rather than just the products of their labour.
In section 2 we look at how artists and other creative practitioners can contribute to sustainable
development. The section recounts the process of developing this Theory of Change with Exchange in
the North East of England. It looks at how this reframing could affect artists and creative practitioners
and their immediate networks, the wider community in Tyneside, and wider society, how these
communities could be involved and how we might start to value and evaluate these differently.
In section 3 we look at how to ensure artists and creative practitioners are able to achieve sustainable
livelihoods throughout their life-cycles, something we call The Art of Living Dangerously. This requires
action on the part of artists and those who support them in three key areas:
Practising Livelihoods: Artists coming together, with other creative practitioners to critically
reect on how they create self-sustaining strategies.
Pooling Risk: Ways for artists and creative practitioners to share the risks of new nancial,
operational and creative endeavours.
Utilising Space: Ways for artists and creative practitioners to access and animate unused space
in towns and cities.
Finally we look at the imperatives and trade-offs for policy makers and funders involved in rebalancing
between sustaining art products and sustaining artist livelihoods.
3 Eikhof, D.R. and Haunschild, A. For arts sake! Artistic and economic logics in creative production, Journal of Organizational Behavior,
2007 amongst many others
7
The paper ends with ten provocations to all of us. These are questions for artists, creative practitioners
and arts and cultural organisations as well as public and private funders and all those involved in making
and inuencing policy, which we hope others will respond to.
We do not express or advocate for the art of surviving in a broken system - an approach that would
suggest unsustainable boot-strapping for artists within a system that does not know how to value them -
but rather, The Art of Living Dangerously describes the transition to a different model of development. A
way to make the lives of emerging artists more visible and viable as well as the policy making logic of the
towns and cities of which they are a part.
The Art of Living Dangerously is something that more of us will need to learn as we live with increasing
uncertainty and growing inequality. This paper is an incomplete picture, the start of telling a new
story and one we hope will be discussed, contested, critiqued and added to. It is our hope that it is a
provocation to all of us that fuels and encourages further enquiry and research in the UK and elsewhere.
8
About the project
We have brought together several strands of enquiry in this report: Exchange, the new economics
foundation (nef) and Mission Models Money. All three organisations operate in very different
spaces and each carries its own set of interests and responsibilities. The process of creating the Art of
Living Dangerously has itself been an action research exercise in our combined ability to reframe our
own thinking and practice. The provocation that follows is the product of a creative collaboration and a
contested conversation. There are points of emphasis, ideas, positions in the following paper that provoke
different reactions and responses but the research collaboration has maintained an honest and open
process. It is our intention that the process we have worked with and the provocation we have created
provide an open space for individuals and organisations to respond with authenticity but also with the
adaptability to move beyond our current xed positions. We need to take the risk to nd more innovative
ways to rethink our contribution to a vision of sustainable development that benets the whole of society.
Exchange
4
, a group of arts organisations in NewcastleGateshead, have been working together since 2008
to explore how best to support the needs of emerging independent artists and creative practitioners
working in performance dancers, theatre makers, audio-visual artists and others. Beginning with an
interest in shared rehearsal/work space, Exchange wanted to explore how best to make the case for
the best possible support to individual artists and creative practitioners in a city where considerable
investment has gone into large scale cultural hardware in the shape of institutions such as Northern
Stage, Dance City, Baltic and The Sage Gateshead and the buildings that house them. As organisations
with different degrees of regular public funding and assets such as buildings or access to workspace,
but all important in their spheres, Exchanges starting point was how best to create the conditions for
individual artists and creative practitioners to thrive in the citys arts and cultural ecology, in ways which
build the resilience and productivity of all involved and the wider community.
Mission Models Money has been supporting Exchange in this collaboration, and through its re.think
programme is investigating the role of arts and culture in helping people respond to the bigger than self
challenges of climate change, resource scarcity and social injustice. They were particularly interested
in how the kinds of artist development Exchange are involved with could model and promote bigger
than self thinking and contribute to a radical reframing of the value of arts and culture both socially and
economically.
nef has a long record of research into how best to measure economic development and wellbeing, in
ways that move beyond a simple GDP focus. nef have argued for a great transition, necessary because
the business as usual economics of governments and central banks has failed. It has failed even on its
terms unable to deliver consistent growth or a fair spread of income, little evidence of the promised
trickle down effect as income and well-being disparities grow wider and wider, decreasing social mobility,
growing evidence of negative impact on the environment and life-satisfaction static as working hours
diverge between longer and longer and none because those terms are based on the illusion of innite
growth from nite resources.
4 Ballet Lorent, The Empty Space, Nikolas Barrrera and Northern Stage
9
Avoiding the scourge of unemployment may
have less to do with chasing after growth and
more to do with building an economy of care,
craft and culture. And in doing so, restoring the
value of decent work to its rightful place at the
heart of society. Tim Jackson, Economist
Introduction
Art and culture have the potential all over the world to weave communities together. Where would the
Lower East Side, Hoxton and Kreuzberg be without the artists who repurposed streets as galleries, old
shop-oors as theatres, warehouses as homes? What about the wellspring of ideas, favours and contacts
that need to be swapped, exchanged and fostered to make the festivals of Edinburgh, Notting Hill and
Lewes happen every year. Each evening across the country there are pubs, village halls, back-rooms
and clubs, lled with comedians, lms, dancers and poets who provide a point of conversation, start
new thoughts and give us an un-mediated experience of connection to people, ideas and feelings. Its the
artistic spirit that galvanises a movement, makes a place, and can transform a school. At their best, as
they live and work, artists bring people together - they remind people that that they are a people.
But since the 1990s art and culture have largely only been able to be valued in policy terms as
a contributor to a model of economic growth. The association of art and culture with up-market
consumption, real estate development, global de-regulation and new sources of creative human capital
has positioned large areas of cultural and creative practice as an accomplice to an unsustainable growth
agenda. The creations of European Capitals of Culture, Cultural Regeneration projects, the idea of the
Creative Class
5
have, perhaps unintentionally, focused attention on one of art and cultures benets - at
the expense of a broader understanding of what artists do.
We need a new story about art and sustainable development that starts with artists and the places and
communities in which they live. That recognises how they breathe particular kinds of life into the places
where people congregate and come together. That demysties their involvement in an informal economy
exchanging skills, ideas and materials. That shows their role in helping communities see the often-unseen
livelihood assets around them that can bring them adaptability and resilience. That shows the type of
social learning and innovation made possible when people, ideas and imagination come together. What
could be more important, at a time when the types of exchange facilitated by the economy provide such
poor ways of valuing and growing what really matters?
5 The Rise of the Creative Class, Richard Florida
10
In this paper we will look at how this reframing of our understanding of what cultural value is can nd a
home in theories of sustainable development and, drawing on the work of Exchange, we will look at what
this could mean for communities that seek to position artists throughout the life and culture of towns and
cities across the UK. Throughout we will focus on artists and other creative practitioners - as it is only
through their day-to-day practices that we can understand the full value of the difference they make to
places in which they live and work.
The irony of this focus on artists and their livelihoods is that in times when art itself is increasingly
perceived and sold as a luxury commodity, being an artist runs the risk of becoming a luxury profession.
The fees of an undergraduate degree run up to 27,000, a masters degree to 12,000 and then there are
the barriers of class, gender and race, the expectation of free-labour to negotiate before securing work as
an artist or other creative professional. The more exclusive art education becomes, the more abstracted
art becomes from society, social progress and sustainable economic development. This conception of the
purpose of art and characteristics of artists could not be further from the one imagined in this paper. With
a comprehensive understanding of what artists do to make places better, we can dismantle some of the
barriers that prevent artists from thriving and build foundations from which they can share knowledge,
pool risk with one another and open-up new spaces to live and work. Changing our understanding of what
an artist or creative practitioner actually does, can help to alter who gets to become one.
11
Section 1: Culture
and Sustainable
Development
The only intelligible meaning of benefit to the
economy is the contribution direct or indirect
the activity makes to the welfare of ordinary
citizens. John Kay, Economist
This section looks at the state of the economy, and the search for ways to x it. Those trying to reform
ideas of economic growth are attempting to place a value on what many experts in cultural value
have long been attempting to describe - the value of those things that are hard to put a price on -
creativity, learning, attention, community and so on. Situating culture within a framework of sustainable
development gives us a way of bringing these two perspectives together, it gives us a different
perspective on growth for economists, and a way of understanding the value of artists and creative
practitioners that starts from what they do and how they live, rather than what benets they produce for
cultural policy makers.
1.1 The state were in
Our immediate economic turmoil stems from the evening of Sunday, September 15, 2008, when
Lehman Brothers, one of the largest investment banks in the world, led for bankruptcy. In the week
that followed, the largest bank run in history broke out. Hidden from most of us, the shadow banking
system that immense conglomeration of off-balance sheet, deregulated and tax-less activities and
institutions assembled during the years of the boom collapsed in on itself. Close to half a trillion dollars
disappeared from the US banking system in ve days. Banks and nancial institutions across the globe
were threatened with collapse.
The response, now familiar, was to bail out the nancial system. Governments across the globe used their
own powers to borrow and to provide nancial assurances to prop the system up. An immense burden
was, as a result, transferred onto the public sector, onto, ultimately, the rest of society. The cost of this
operation globally has been estimated by the International Monetary Fund to be $11 trillion. The Bank of
Englands estimated cost for this to the UK is 1.3 trillion.
12
The bailouts stabilised the nancial system.
6
But they did not prevent an exceptionally sharp recession
erupting, worldwide. Economic growth has faltered, businesses are struggling to survive, people are
losing their jobs and sometimes their homes. The UK has been particularly badly hit, the victim of its
bloated nancial services sector, unemployment has risen, expenditures on unemployment benets
accelerated. But tax revenues also fell. As across the rest of the developed world, the UK government
decit the gap between tax revenues and public spending yawned open. So public spending has been
cut, affecting many including those in the independent arts, threatening livelihoods and development.
But the initial policy response of austerity has so far failed to cut that decit or deal with unemployment
and deepening inequality. This austerity approach is counting on return to GDP-growth to achieve these
goals. But here the wider and deeper uncertainty about conventional economic thinking is highly relevant.
Growth, held since at least the 1950s as the panacea for all economic problems, was not delivering.
Whilst the top 1% saw income and wealth soar during the boom, median real household incomes
stagnated or even fell. Consumption for the majority was sustained only through growing indebtedness.
At the peak of the boom, UK households were the most heavily indebted of anywhere in the world, with
163% of average household income held as debt. Inequality has worsened over the past thirty years not
just in terms income and wealth, where it has been most extreme, but also in terms of life expectancy,
health and education.
The environmental damage associated with the late twentieth century growth model most notably in
its greenhouse gas emissions shows no signs of abating. Whilst the energy efciency of the UK economy
has improved sharply over time, the impact of this on total emissions has been cancelled out by growth
in the economy. This dominance of scale over efciency is playing out in more extreme fashion globally.
Critically the conventional growth model saw environmental damage as reversible growth now would
pay for sorting the problem out in the future. For many acute, localised environmental problems this
was the case but the urgent problems we face, such as climate change, involve major irreversible tipping
points something that is not only recognised internationally but demands that economies are run within
their environmental means something the conventional growth model does not recognise.
The link between these immediate and systemic challenges is increasingly not only recognised but also
debated in terms of a paradigm shift. Questioning growth is deemed to be the act of lunatics, idealists
and revolutionaries, according to the economist Tim Jackson. But we are faced with a dilemma, no
growth risks economic collapse and unemployment, full-on growth risks increasing inequality and
destruction of the ecological systems on which we depend for survival.
1.2 Valuing the wrong things
Our current model of economic growth is failing because it often attributes value to the wrong things.
It can only recognise certain kinds of value. Popular criticism has focused on whether Gross Domestic
Product is the best goal for a government. The best known critique of this measure came from the
Sarkozy Commission report, set up in the wake of the 2008 nancial crisis, led by Nobel laureates Joseph
Stiglitz and Amartya Sen. They identify three broad types of problem.
First, as an economic measure GDP does an inadequate job because it focuses solely on income but
should also cover wealth and employment. It also critically fails to measure the distribution of these
6 International Monetary Fund Working Paper: Bailouts and Systemic Insurance, November 2013,
http://www.imf.org/external/pubs/cat/longres.aspx?sk=41048.0
13
three. Second, increasing well-being for all, the purpose of an economy, is delivered by more than those
things that are measured in terms of price. This is important not just because these things need to be
included in a measure of prosperity but also because economics can inuence them for better or worse.
Third, but not the main focus of this paper, GDP but particularly cost benet analysis fail to address the
threat of reaching irreversible tipping points in environmental damage and climate change.
For some the damage caused by misplaced measures of growth extends beyond the tangible wrongs
of environmental degradation and inequality, but has corroded social relations. Professor Tim Kasser
has documented the supplanting of the intrinsic values of community, empathy and sharing with the
extrinsic values that have to do with fame, success, power and money
7
. In Canada, the essayist FS
Michaels talks of the emergence of a Monoculture whereby the economic story is the story of life itself.
In 2010, on his death bed the historian Tony Judt wrote about the erosion of the idea of public good, while
the American philosopher Michael Sandel recently coined the memorable epitaph that we have shifted
from Having a Market Economy, to Being a Market Society.
For Tim Jackson, the heart of the problem is the relationship between labour and productivity, the more
productive we are the higher our incomes are the higher GDP is. But three of the things that suffer most
directly from the pursuit of economic growth through labour productivity are things that are not based on
the direct creation of measured and measurable economic output or growth, but still matter very much
to our quality of life and shared prosperity, namely Care: the time energy and attention taken to look
after each other; Craft: the time, energy and attention taken to make or mend things ourselves and/or
make them beautiful rather than just useful; and Culture: the time, energy and attention taken to produce
artistic works of enduring value.
8
In short, he argues avoiding the scourge of unemployment may have less to do with chasing after growth
and more to do with building an economy of care, craft and culture. And in doing so, restoring the value of
decent work to its rightful place at the heart of society.
It is almost as though our dominant growth measures shine no light on things we have always valued.
Without it they have withered.
At a time of unprecedented public sector cuts and in the light of a continued decit in public borrowing
we increasingly have to make choices about what matters. Perhaps it is difcult to value care, craft and
culture because they do not t easily into the economic growth story or we distort them by insisting they
do. These things are more than commodities or traded services, they are fundamental to responding to
the challenges of the human condition, of our times and for future generations; to building community
well-being, democracy and sustainable livelihoods for all.
1.3 Placing a value on what artists do
There are similarities between the current attempt within economics to place a value on those things
not valued within the current model of economic growth, and discourses within cultural policy that have
attempted to place a measurable value on culture and the arts. Both have struggled to prescribe a value
to things that cannot be touched or easily counted.
7 Prof Tim Kasser, Common Cause and Values and Frames, 2011
8 RSA Blog, May 2012, http://www.rsablogs.org.uk/2012/socialbrain/economy-care-craft-culture/
14
Many of the attempts to describe the value of culture have identied its social and economic benets,
partly to justify itself in an economic orthodoxy that has required measurable proxies and outcomes.
These instrumental benets of art and culture tend to be cited in opposition to intrinsic benets.
Discussion of the value of culture has pitched the question of whether the arts should be valued for their
contribution to (politically determined) social goals, against the idea that their value should be taken as
innate.
Both of these approaches emphasise what culture does over a wider understanding of what it is that
artists actually do and how they maintain a livelihood - their day-to-day roles, rhythms and modes of
being. In ways that mirror what growth measures can and cannot see, we nd proxies for the value of the
artistic product rather than in the life-style, behaviours and learning that produced it. So the multiplier
effect of investing 2m in turning a water-mill into an art gallery; the difference a programme of museum
visits makes to classes English GCSE results; opera visitors attested experiences of the sublime, tell us
little about the artists and creative practitioners who produce these paintings, buildings and experiences.
How do they develop? Where do they live? What was their purpose in becoming and remaining an artist?
What networks are they a part of? How do they learn and create? What is their relationship to the place
that they live? What is their role in community life?
These questions are important to ask now. When the yard-stick of social progress is economic growth, the
utility of culture and the arts is understood in as far as they contribute to that growth or ameliorate the
social problems that hold it back. But with the model of economic growth under question - fundamental
questions being asked about labour productivity, the damaging impact of growth on the environment,
social relations and so on - the question for the arts and culture is also changing. We are moving from
asking how should we determine the value of art and culture to the economy? to investigating whether,
within the practice of artists and creative practitioners there are patterns of living, behaving and acting
- a different value system - that might help us to establish and locate a different model of sustainable
economic development?
There are some pointers in the available literature to the contribution artists and creative practitioners
make to their locality that give us clues as to how artists and creative practitioners function in distinctive
ways
9
. While these tend to focus on the benets of artists work, rather than descriptions of their
livelihoods and patterns of working, they start to make it easier to see how artists create. In section 2 we
will look more deeply at these. It is clear that more research is needed.
Creating places and the public
Artists work is often involved with places where people meet and congregate. They can be a vital part
of creating, animating and extending these spaces. The Creative Placemaking programme in the US
10
is
clear in suggesting a role for artists and creative practitioners in creating the vibrancy of a place, which
in turn leads to retention of creative people of all occupations, leading to economic development both
directly through art markets and audiences and indirectly through bars, restaurants and the leisure/
tourism economy. Anne Gadwa even argues that there is little evidence of gentrication as a result of
artists and creative practitioners moving into a neighbourhood, and that artists and creative practitioners,
9 Arts Council England, Be Creative Be Well: Arts, Wellbeing and Communities, 2012
10 See Creative Placemaking by Ann Markusenand Anne Gadwa A white paper for The Mayors Institute on City Design, a leadership
initiative on the National Endowment for the Arts in partnership with the United States Conference of Mayors and American
Architectural Foundation. NEA 2010. - See more at: http://arts.gov/publications/creative-placemaking#sthash.8oLCGaWz.dpuf
15
with their mixed but generally low incomes, can even help retain the diversity of a neighbourhood
undergoing development
11
.
Alternative exchange patterns
They are involved often with an informal economy of exchange, in skills, ideas and materials that is often
not monetised but works with other forms of capital and value exchange. In some ways maybe, artists
operate with a model balancing market-involvement and bigger than self interests that is required
in remaking the broader economy. Artists and creative practitioners are seen by some as examples
of, or precursors to, new models of work. The characteristics highlighted include high levels of self-
employment and entrepreneurial behaviours to sustain their artistic practice, strong networks and skills
sharing. They are also seen to operate in the market without being solely shaped by prot and return. It
is also argued that in nding some kind of balance between income and art practice, artists and creative
practitioners may be a model for a new post-growth economy. As Tim Jackson argues again And here
perhaps is the most remarkable thing of all: because these activities are built around the exchange of
human services rather than the relentless throughput of material stuff, theres a half decent chance of
making the economy more sustainable.
Identifying community assets
Artists and creative practitioners work often values relationships and activity not just in transactional
monetary terms but also in ways that can enable people to recognise and realise potential livelihood
assets. This is what makes the artistic spirit important for commerce, but also for communities. Some
arguments have stressed the way in which professional artists and creative practitioners work is part
of the broader economy, deriving income from clients and customers and spending it in the supply
chain or the local economy. They also emphasise the importance of the creative skills arguably at the
centre of artistic practice, and the role in creating and spreading innovation of all kinds
12
. The portfolio
working which most artists and creative practitioners describe when explaining how they make art and
a living
13
is seen as a potential model for future ways of working, part of the shift from single or long-
term monogamous employer-employee relationships. The skills of an artist are also seen as having
wider application than simply the production of cultural product, but as useful in education and the wider
creative industries and economy.
These three activities creating places; alternative patterns of exchange, and identifying community
assets are not descriptions of the livelihoods of all artists across Britain. Its unlikely that there is an
invisible, under-valued world of artists and creative practitioners in Britains towns and cities, operating
with a different value system, slowly bending the dominant economic paradigm to their behaviours. If
there were there would be established systems of support and exchange, more co-operative structures to
support homes and workspaces, associations to share the risks of being a sole-trader, and artists would
be better connected to schools, hospitals and the fabric of day-to-day lives of most people.
The reality is more grim. Over the last fteen years, the idea that the supply of artists and creative
practitioners can be taken as read led to investment going more into bricks and mortar, than into the
11 Anne Gadwa How Art Spaces Matter II http://metrisarts.com/wp-content/uploads/2012/06/1-HowArtSpacesMatter_II.pdf
12 eg Oakley, K., B. Sperry, and A. Pratt. The Art of Innovation. London: NESTA, 2008
13 eg Hans Abbing Why are Artists Poor: The Exceptional Economy of the Arts. Amsterdam: Amsterdam University Press, June 2002
Baines, Whitlock Baines, S. and Wheelock, J. 2001. Contextualising the creative labour process for visual artists. Paper presented to the
19th International labour Process Conference, 26 - 28 March, Royal Holloway College, London
16
creative practices which make those cultural buildings assets to the community, rather than liabilities
to be maintained. This squeezes out the scope for artists and creative practitioners to form livelihoods
around those patterns of behaviour outlined in the previous section.
These infrastructure developments have become agships for particular kinds of culture and have limited
the opportunities for other and new kinds of practice to develop. They create a sector for culture to
inhabit, rather than connecting art and culture to everyday life. Some have even suggested that when
such infrastructure developments are brought together and marketed as part of a creative city or
similar, they can actually accentuate social class segregation.
14
Most importantly, it has led to an indifference to who gets to become an artist. If the benets of
cultural product matter most, who is making it and how it is made becomes less important. However,
it is problematic for society if only the wealthy can afford to become artists and limit the potential
talent, diversity of perspectives, voices and experiences. Moreover, if artists come only from privileged
backgrounds it is also unlikely that they will be residing in the most deprived communities. The working
conditions of artists and creative practitioners are notorious and subject to much research over the years
by public and private funders and policy-making bodies. There is a strong consensus that despite the tiny
minority of artists and creative practitioners who win big, the vast majority earn signicantly less than in
other professions with a similar level of higher education and have poor pension provision. This has meant
that artists and creative practitioners incomes and work conditions, their ability to build sustainable
livelihoods and careers within particular localities or communities, have become ever more precarious
and vulnerable.
In the same way that economic theory grows in the shoes of rational economic man, the culture of
economic growth has made artists and creative practitioners a kind of positive ghost in the machine
of most frameworks for measuring the effects of culture. Just as the critiques of classical economics
require a certain outing now, so too do we need an outing of the artist and how they create, survive
and thrive, what they do, who and where they are. While the economic arguments for the benets of
culture have increased and maintained bricks and mortar in recent decades, we have overlooked artists
livelihoods, which has contributed to a separation between artists and society and worst of all has
created an indifference to who gets to become an artist. The cruel irony is that the more separate, siloed
and elite artists become, the easier it is to argue in times of austerity that they are a luxury society no
longer afford. We are trapped in cycle that reduces the relevance of artists and creative practitioners at
just the time when the alternative value-system that sustains artists and creative practitioners is most
needed.
One way to reframe this could be to borrow a framework from international development to suggest a
fresh way for artists and creative practitioners and all those involved in inuencing and making policy and
funding alike to reposition artists livelihoods in a new context.
1.4 Placing art and culture within sustainable development
There is a growing shift in interest from creative cities to sustainable cities
15
with a strong argument
made for the inclusion of culture in all policy areas. In 2010 United Cities and Local Governments, a
14 Prof Jonathan Vickery, Beyond the Creative City, May 2012
15 eg Kagan, Sacha. From the Unsustainable Creative Class to the Sustainable Creative City: An Emerging Shift in Cultural Policies?
(October 15, 2010). http://papers.ssrn.com/abstract=1692189
17
global body for local government, adopted a Policy Statement, Culture: Fourth Pillar of Sustainable
Development which argued for the inclusion of culture into models of sustainable development,
alongside economic, social and environmental, and the promotion of cultural diversity. The central
argument is that culture ultimately shapes what we mean by development and determines how people
act in the world.
The Statement argues for a denition of sustainable development where cultural vitality sits alongside
environmental responsibility, economic health and social equity. Agenda 21 for Culture has promoted
the arguments for culture as the fourth pillar of sustainable development globally. It has to some
extent been accepted by UNESCO who suggest that cultural diversity is as necessary for humankind as
biodiversity is for nature and it becomes; one of the roots of development understood not simply in terms
of economic growth, but also as a means to achieve a more satisfactory intellectual, emotional, moral
and spiritual existence (The Universal Declaration on Cultural Diversity UNESCO 2001). David Throsby
describes how even the World Bank has set out how culture can contribute to its development objectives
by:
Providing new opportunities for communities to generate income
Catalyzing local-level development using community skills and resources
Generating income from protected or renewed community assets
Strengthening social capital
Diversifying capacity building for knowledge-based societies
16
.
However, the recent conclusions from the Rio+20 Conference make little explicit reference to the
role of culture, and still refer to 3 pillars of sustainable development excluding culture. There is little
evidence of anywhere in Britain giving serious attention to Agenda 21 for Culture and this more holistic
concept of development. In 2011 the UK Department for Culture Media and Sport sponsored a research
fellow whose concluding paper, for instance, argues strongly for the cultural sector to make a more
purely economic argument for the arts and describe contingent valuation, it makes little reference to
sustainable development. In some senses this is a symptom of a wider issue: the current emphasis on
economic growth and tight scal control as a response to austerity.
The Sustainable Livelihoods framework developed and promoted by the Department for International
Development in the late 1990s, and utilised primarily in the elds of poverty reduction and international
development, is a form of asset-based development. (DFID 1998.) It seeks to understand the systems in
which sustainable livelihoods can be developed, identifying ve kinds of assets an individual or household
might have, the context in which they can utilise those, their vulnerabilities, and goals for their livelihoods.
Judi Piggot, who has argued for the application of the Sustainable Livelihood framework to understanding
the economic role of artists and creative practitioners in the creative economy denes it thus: A livelihood
system framework is asset-based, identifying and building on existing strengths, rather than focusing
on needs. Its core concept is sustainability, in that greater capacity and resilience to reduce economic
vulnerability is the goal.
17
(Piggot 2008) Piggots work, in the context of sector development in Canada,
16 David Throsby, Economic and Culture, Cambridge University Press, 2001
17 Judy Piggott, Sustainable Livelihood Systems: A Framework for Understanding the Economic Role of Artists in the Creative Economy,
2008 http://synergybydesign.ca/sites/default/les/Sust_Livelihood_System_FrameworkPaper.pdf
18
takes a systems approach to mapping and understanding the creative economy at the level of individual
creative assets - the artists and creative practitioners themselves - borrowing livelihood systems from
international development work and moving beyond the framework of a manufacturing and growth
economys language.
Figure 1 is a model Sustainable Livelihood Framework, as developed by DFID
18

VULNERABILITY
CONTEXT
SHOCKS
TRENDS
SEASONALITY
LIVELIHOOD
OUTCOMES
More income
Increased
well-being
Reduced
vulnerability
Improved food
security
More sustainable
use of NR base
Key
H = Human Capital
N = Natural Capital
F = Financial Capital
S = Social Capital
P = Physical Capital
LIVELIHOOD ASSETS
LIVELIHOOD
ASSETS
Laws
Policies
Culture
Institutions
PROCESSES
TRANSFORMING
STRUCTURES &
PROCESSES
STRUCTURES
Levels of
government
Private
sector
S
H
F P
N
Inuence
& access
I
N

O
R
D
E
R

T
O

A
C
H
I
E
V
E
Figure 1: Sustainable Livelihood framework
Livelihood Assets
The framework denes ve kinds of capital that make up those assets:
Human capital: skills, knowledge, health
Natural capital: land, natural resources, environmental health
Financial capital: savings, income, borrowing
Social capital: networks and benecial relationships
Physical capital: infrastructure, buildings, equipment, energy.
Not all of these are as relevant to the case of emergent independent artists in NewcastleGateshead, but
one can see how these types of capital might inuence an artists ability to sustain a livelihood, taking the
example of a dancer, for instance:
Human capital. Initial training followed by continuing professional development and
opportunity to make work and have it peer-reviewed, whilst keeping the body t would tend to
increase assets. Lack of regular workshops, lack of exposure to current and next practice (or
ability to partake) would tend to diminish it.
Natural capital: Good environments to live and rehearse in would increase capital in this area:
cramped, damp unhealthy spaces would tend to diminish it.
18 eg DFID Sustainable Livelihoods Guidance Sheet http://www.eldis.org/vle/upload/1/document/0901/section2.pdf
19
Financial capital: Having money available, whether from income, savings, family or borrowing
would tend to increase opportunities to create work to a high standard. Lack of available
nance, either for investment (into say training or equipment, or time to rehearse) or for
ongoing costs, leading to distracting day jobs, would tend to weaken the artists ability to
fulll their livelihood ambitions alongside their cultural ambitions.
Social capital: Strong networks and benecial relationships that lead to collaboration,
commission, income and skill-sharing all strengthen an individual. A lack of networks and
poor connectivity will tend to lead to isolation and diminished social capital.
Physical capital: Being able to access (via affordable public transport or good roads) high
quality but affordable studio, rehearsal, performance and ofce workspace, at convenient
times would be key physical assets for a dancer even if not owned. Having no access to
suitable spaces, or to ones that were too cold or costly would leave them with little physical
capital.
These livelihood assets are key to negotiating the inuence and access necessary to carrying out
what the framework calls livelihood strategies. The combination of human, social and nancial capital
aspects are arguably key to entry into the arts with its emphasis on talent but also its documented
reliance on networks, and a growing perception that the ability to work for nothing for a while is an entry
requirement.
Livelihood strategies are the ways in which a person or family unit seeks to draw in the resources and
other support which make their desired livelihood outcomes possible. These may include a portfolio
of roles or of activities and services they offer to others. They may also include support from family
members, or, for short periods, borrowing or debt. They are likely to be heavily inuenced by the nature
and extent of the assets an individual has or even feels they have.
For artists and creative practitioners, these strategies will be shaped by their assets what they have to
play with, and can offer but also by their operating environment, and its vulnerability context. To use
a crude example, the viable strategies available to similarly skilled, networked and nancially resourced
dancers may differ if they choose to live in London or in Louth in Lincolnshire. Their livelihood outcomes
may also necessarily differ.
Livelihood outcomes are the expectations of a viable livelihood (a mix of monetary income, personal
or family well-being and security of food and housing, and reduced vulnerability to changes in
circumstances) and the sustainability of their use of resources. Artists and creative practitioners often
live with a high level of vulnerability in precarious livelihoods. This has major implications for the
diversity and democracy of artistic practice as many without family backing (both nancial support and
encouragement) may be excluded by their inability to live with such levels of vulnerability. Research
suggests artists and creative practitioners often trade present security for potential future success,
which may never arrive.
Transforming Structures & Processes are those policies, institutions, legal frameworks and general
how we do things round here ways of working in which people must operate. These can be more or
less helpful to creating sustainable livelihoods. Examples of enabling structures in the creative and
cultural industries might be the legal framework of intellectual property law, licensing laws, employment
practices such as internships, touring networks in the performing arts, or indeed the arts funding system.
20
Vulnerability context is those things that may change to affect the individual this might include the
seasonality of work or income, shocks such as natural disasters, or changes in populations, markets
or demand for services or goods. The resilience of regional economies forms part of the vulnerability
context their assets, networks, equilibrium and ability to adapt in response to change, for instance
19
.
Equally the adaptive resilience of local cultural sectors or of artform sub-sectors will form part of this
context.
20

By working together individuals and communities can shift their relationship to the framework as well as
being subject to it.
The reality of many artists and creative practitioners livelihoods should not be ignored. As noted before,
average income is low in comparison with other activity with equivalent professional training and
qualication, pension and maternity provision is poor or non-existent, and self-subsidy is commonplace.
This affects both lives and artwork, through lack of equity of access to the sector and development
routes within it.
The framework builds on an asset-based approach that many, including Mission Models Money, have
increasingly argued for and established in the cultural sector. This approach stresses the possibilities
created by both tangible and intangible assets, including social capital, rather than the gap or needs-
based approach which is often perceived as the arts holding out their hands again.
Additionally, the framework shares an emphasis on the centrality of tangible and intangible assets with
ideas of cultural adaptive resilience dened as the capacity to remain productive and true to core
purpose and identity whilst absorbing disturbance and adapting with integrity in response to changing
circumstances and the ability to develop a more secure livelihood
21
. Similarly, networks and nancial
resources are key characteristics of adaptive resilience, and can be related to the vulnerability context in
the Sustainable Livelihood Framework.
Finally, the framework has the possibility to be used exibly enough to encompass all the aspects an
artist or cultural worker might seek in their livelihood and how this related to the context in which they
are working. This is important to connecting earning a living to other common aims of artists and creative
practitioners, such as developing creativity, expression or communication, and wider public good which
may not be present in all occupations. In doing so it also has potential to simultaneously connect to
the full range of possibilities for the effects of culture, providing measures, which are more holistic and
integrated in their intent and application.
This holistic analysis can then be used as recommended in literature examining the potential usefulness
of sustainable livelihoods thinking - to identify focused interventions, resisting the temptation to create
over-complicated programmes which aim to address every problem in the system (Ashley Carney 1999).
Sustainable livelihoods then become an underlying approach to development, rather than a specic
workstream. This has the potential to change the way in which emergent independent artists are seen
in the development of culture and for policy makers to shape strategies in ways that support emergent
19 Pendall, Rolf, Kathryn A. Foster, and Margaret Cowell. Resilience and Regions: Building Understanding of the Metaphor. Cambridge
Journal of Regions, Economy and Society 3, no. 1 (March 1, 2010): 7184.
20 Mark Robinson, Making Adaptive Resilience Real, Arts Council England, 2010
21 Mark Robinson, ibid
21
independent artists networks in tandem with the overall community sustainability that we would argue
should be their aim.
DFID have identied a set of core principles that have strong resonance with commonly held principals in
cultural development. They suggest development activity should be:
People-centred: focusing on key concerns and acknowledging and positively building on the
difference and diversity in peoples perspectives and positions.
Responsive and participatory: involving the people concerned, including in our case
emergent independent artists
Multi-level: working at different levels so that individual and community-level interventions
inuence higher level policy and strategy and vice versa
Conducted in partnership: working across the public and the private sector, involving actors
from all parts of the ecology where appropriate
Sustainable: achieving a balance between economic, institutional, social and environmental
sustainability
Dynamic: livelihood strategies should respond exibly to changes in situation in localities and
amongst emergent independent artists
So what might a Sustainable Livelihood Framework relating to emergent independent artists in
sustainable communities look like?
Figure 2 builds on the outline of the application to artists given above.
VULNERABILITY
CONTEXT
Commissions
Funding
Audiences
Trends
PEST
TRANSFORMING STRUCTURES
& PROCESS
Cultural Policy
IP Law
Cultural institutions
Government investments
Private sector investment
LIVELIHOOD OUTCOMES
Income at desired level
Provision for pension
Use of creativity / arts skills
Physical income
Audience for work
LIVELIHOOD ASSETS
LIVELIHOOD
STRATEGIES
HUMAN CAPITAL
Skills & CPD
Exposure
SOCIAL CAPITAL
Networks
Relationships
PHYSICAL CAPITAL
Workspace
Equipment
NATURAL CAPITAL
Environment
FINANCIAL CAPITAL
Income & Savings
Funding & Borrowing
Inuence
& access
To achieve
Figure 2: Sustainable Livelihoods for Artists and creative practitioners
22
With further denition it may be possible to extend this system to incorporate readings of the adaptive
resilience of sectors or sub-sectors and the overall resilience of regions (incorporating as most
frameworks do vulnerability to natural and economic turbulence alongside social and economic factors),
and the outcomes which a particular city wishes to prioritise. This may look something like Figure 3.
VULNERABILITY
CONTEXT
Commissions
Funding
Audiences
Trends
PEST
TRANSFORMING STRUCTURES
& PROCESS
Cultural Policy
IP Law
Cultural institutions
Government investments
Private sector investment
LIVELIHOOD OUTCOMES
Income at desired level
Provision for pension
Use of creativity / arts skills
Physical income
Audience for work
SUSTAINABLE COMMUNITY OUTCOMES
\Average incomes
Property prices / provision
Well-being indicators
Community cohesion
Cultural diversity
Etc...
LIVELIHOOD ASSETS
ADAPTIVE CAPACITY
SITUATION
AWARENESS
MANAGEMENT OF
VULNERABILITIES
ASSETS
CULTURE LEADERSHIP
NETWORKS
FINANCE
LIVELIHOOD
STRATEGIES
SECTORAL ADAPTIVE
RESILIENCE
HUMAN CAPITAL
Skills & CPD
Exposure
SOCIAL CAPITAL
Networks
Relationships
PHYSICAL CAPITAL
Workspace
Equipment
NATURAL CAPITAL
Environment
FINANCIAL CAPITAL
Income & Savings
Funding & Borrowing
Inuence
& access
To achieve
REGIONAL
ADAPTIVE
RESILIENCE
Figure 3: Sustainable livelihoods in overall outcomes and resilience
23
Section 2: A Theory of
Change
Culture-led development includes benefits
such as social inclusiveness and rootedness,
resilience, innovationfor communities and the
use of local resources, skills and knowledge
UNESCO, Culture: a driver and enabler of
sustainable development
So far this paper has explored the role of arts and culture within sustainable economic development and
how artists and other creative practitioners could adopt a sustainable development theory. But what
would applying some of this understanding mean in a particular place for a group of artists and creative
practitioners? What outcomes and values beyond the traditionally economic are artists and creative
practitioners bringing to their local area? What alternative indicators of progress can they help provide?
This section recounts the process of, developing a Theory of Change with Exchange in the North East of
England.
Theory of change is a methodological approach used to understand how change occurs. It is often
employed by organisations or groups to support their understanding of what journey they need to go on
and what steps they need to take in order for their long-term goal to be attained. To this end, it explores
the causal links between particular activities and the results of these activities (outcomes/ values).
Theory of change is built on what matters to stakeholders and is expressed in their voice. Voices are often
captured through facilitated workshops so the partners in this report collaborated in a one-day interactive
theory of change workshop in Newcastle. The workshop was attended by emergent independent artists,
people from local government established arts institutions and fringe arts institutions and other relevant
practitioners in the eld.
The workshop was intended to engender debate and capture a range of voices from different standpoints
but also to reach consensus where possible on what vision is desired and possible in terms of the role of
arts in creative and cultural regeneration and how it can practically be attained. The stakeholders who
attended spoke on behalf of themselves but also the networks and communities with which they are
involved.
24
A vision for a thriving community of artists within a more sustainable community
The stakeholders at the workshop valued the opportunity to reect on what a thriving community of
artists and creative practitioners might look like. They suggested that it would involve artists consciously
thinking about what they want to achieve artistically, socially and economically, both individually and
collectively. Linked to this was belief in the value of artists and creative practitioners proactively shaping
discourses in the local area. The potential for practical concerns, such as funding worries, to stand in the
way of discourse and engagement was acknowledged; such funding concerns (including access to up-
front investment and impacts on stress and innovation) should not be overlooked but should equally not
be at the expense of introspection.
The stakeholders at the workshop identied certain factors (outlined below) which would characterise
their practical vision of a thriving community of emergent independent artists that plays an active role in
developing the area:
The values and ethos of the community
Questioning (and driving) debate on what we mean by prosperity and what we value
Striving to be better, questioning what they want to be.
Driving what happens next in the locality
At ease with risk taking and constant change, diversity and variety
Attributes of the artists and creative practitioners themselves
Culturally Diverse
Critical and Analytical
Mixed age: people do not drop out of profession as they get older
Broad minded and outward looking and international in outlook
Socially inclusive - not just those that can afford to do an internship or go to university
Places they live and work
The artists and creative practitioners have access to spaces
The artists and creative practitioners have workspaces to connect to other artists and creative
practitioners
The community is both online and ofine
The community is uid - people come and go: some people have always been in the area;
some people leave the area; some people come to the area and stay; some people come to
the area to visit
It is somewhere to call home
Networks and links within the community
A supportive community of artists and creative practitioners rather than simply isolated
artists and creative practitioners working in different areas
It is not just individual groups/ organisations/ buildings etc doing their own thing
There is a network of artists and creative practitioners - different art forms come together to
meet and share ideas
25
The community and people in it learn from others for example through apprenticeships and
champions
The community of artists and creative practitioners is integrated with the local area:
Artists and creative practitioners socialize not just with other artists
It is not just artists and creative practitioners in the community who are involved but
other skills/ trades e.g. welding
Artists and creative practitioners themselves are involved in the local area in other
ways
There is a network of champions (to support, advocate and disseminate the ideas of
artists in the community)
The community is made up of individuals and companies
Established and emergent artists support each other
There is power sharing between independents and institutions rather than having a
power problem and decit
Independent artists value institutions and institutions value independents, rather than
there being tension. Artists and creative practitioners and institutions support each
other and work for bigger than self ends.
The work/ job
Some suggested that being an artist/creative practitioner should be recognised as a
legitimate job. It is not necessary to use the term professional artists, as artist/creative
practitioner speaks for itself as a profession
At the same time others called for the need to breakdown the professional vs. non-
professional boundary i.e. anyone can be an artist (whether in the profession or not).
Being a professional artist/creative practitioner is not just about getting paid there would be
an understanding of what the profession means in terms of standards, behaviours, ongoing
development, responsibilities and rights
The community takes responsibility for work
This detailed practical vision can be translated as being a set of short to long term aims that would be
exhibited (in the opinion of the stakeholders) if artists and creative practitioners were placed at the heart
of sustainable development.
Through this visionwhat outcomes and values beyond the traditionally economic are artists bringing to
their local area?
The stakeholders identied that their practical vision would result in outcomes for three main groups:
1 Artists and creative practitioners and their immediate networks:
Emergent independent artists themselves
Their families; partners and support networks etc
26
2 The wider community in Tyneside:
Residents
Visitors
Particular sectors: education; health; social care; media
3 Wider society:
mainstream economy and small artisan industries and freelancers
Public and private funders; providers
Voluntary sector
Arts infrastructure and staff
Government and politicians
These three groups would be positively affected by a shift to the vision above, and could therefore
usefully be involved in supporting the implementation of that vision. The stakeholders at the workshop
discussed and examined what activities would need to be in place now and in what ways these would
impact on the different stakeholders in order to work towards there being a thriving community of artists
and creative practitioners contributing to cultural regeneration. They also identied the outcomes/
value generated for these three groups in the medium term. The value generated was dened both in
the traditional economic sense (e.g. increased revenue at performances) but also through alternative
indicators of value (such as increased well-being and connection to place).
The diagram on the next page outlines and summarises the steps along the journey to reaching the
overarching vision/ aim as identied by the stakeholders. It shows how immediate activities can lead to
specic outcomes/ values for different groups which will all in turn support the achievement of the vision.
This diagram illustrates the stakeholders vision of how different pathways can lead to their ultimate
aims being met, and the outcomes/ value generated for different groups along the way. For example,
having greater access to affordable space will mean that artists and creative practitioners have greater
opportunities to network; share ideas and collaborate. This interaction will strengthen the community of
artists and creative practitioners meaning they will be better placed to both counter and partner with es-
tablished institutions in a way that builds cultural capital. This will eventually result in artists and creative
practitioners leading more creative partnerships in the area with the ultimate effect of artists and crea-
tive practitioners being active in shaping and sharing the values and ethos of the local community.
To follow the top pathway; a smarter use of resources on the part of public and private funders will allow
time for artists and creative practitioners to develop and improve their work. Raising the quality of work
will mean artists and creative practitioners are better equipped to meaningfully engage with the local
audience. This engagement will lead to stronger social connections in the local area which would in turn
lead to the outcomes of higher well-being and self-esteem. Increases in these health related factors are
likely to assist in attracting a more diverse range of funding sources which will perpetuate the virtuous
cycle of a smarter use of resources by public and private funders.
The Theory of Change diagram (gure 4) also serves as a device to consider the consequences of certain
steps in the pathway not being achieved. What would happen for example if supportive infrastructure
such as spaces are not open and amenable? What would the likely consequences be for the ability of
artists to network and grow stronger and what would be the knock on effects of that in turn?
27
Improved quality
of life
Higher esteem /
appreciation of
place
Increased risk
and innovation by
artistic community
Artists spend time
being critical and
reecting
Smarter/ more
efcient use of
resources on the
part of funders/
the philanthropic
community
Supportive
infrastructure
(such as spaces)
is more open and
amenable
Artists support
other artists work
Meaningful
engagement with
audience (inspiring
and challenging)
Diversity of thinking
for audiences and
artists; looking at
things differently
Better social
connections and
understanding
people
Increased quality
of work by artists
Increased
audiences,
revenue and
expanded markets
Local community
improves in
condence,
expression,
communication,
skills, creativity
Local economic
multiplier effects
Artists provide a
realistic alternative
model of success
(i.e. non-monetised
exchanges also
valued
Artists more
involved in
leadership
and ownership
and creative
partnership
Enhanced nancial
community
increases ability
to sell to national
markets
Greater
independence and
security
A partner with
an a counter
to estblished
institutions
A diverse well-
networked com-
munity of artists
Strength and
power to be a
challenging force
Artists have
capacity to give
back to the local
community
Increased feelings
of self-worth
by artists and
community
A resilient place
and community
Increased well-
being
Funding attracted
from a diverse
range of sources
(eg health sector)
as a result of
demonstrating
wider outcomes
A strong and more
varied economy
Money, skill
and talent is
concentrated in
and remains in
the NE
Artists shape the
values and ethos
of the local and
wider community
Immediate activities Immediate activities Long-term aims / vision
Figure 4: The Theory of Change
28
Section 3: Learning
the Art of Living
Dangerously
While the management of specific risks is
an important and commonly understood
professional skill, the strategic protection of the
ability to take risks the wellspring of artistic
renewal is a neglected area. Adrian Ellis
So far we have identied a new way of framing the role of arts and culture in sustainable economic
development, and considered how that understanding would translate into an approach to changing the
role of culture in a region. This hypothetical framework maps against a bleaker present-day reality.
This section looks at what artists and creative practitioners can do now and what policy makers and
public and private funders can do to help them, in order to transition to the new framework - an art of
living dangerously.
3.1 Practising the Art of Living Dangerously
The purpose of working with a systemic and integrated framework for the development of arts and
culture is to help to reframe the way we value artists and creative practitioners role, in creating a more
socially just, economically viable, environmentally sound, high-well-being community and locality. This
requires change across the whole system. The stakeholders in the workshops identied three practices
that need to be supported. These can only be achieved by collaboration between artists, institutions and
an intelligent funding ecology that creates mutual support.
Practising Livelihoods: Artists coming together with other creative practitioners and the support of
funders to critically reect on how they create and maintain livelihoods.
Pooling Risk: Ways for artists and creative practitioners to share the risks of new nancial, operational
and creative endeavours and models of working.
Utilising Space: Ways for artists and creative practitioners to access, animate and use unused space in
towns and cities.
29
Well now take each of these in turn looking in greater detail at why they are important, and what artists,
funders and policy makers can do to facilitate their development. We will also look at indicators that
might tell us what development has taken place.
3.1.1 Practising Livelihoods
For artists and creative practitioners to develop sustainable livelihoods and inform those of others they
need to develop ways of reecting critically, not just on the art they make, but on how theyre able to
make it and sustain their practice. This is a shared problem, so solving it requires shared activity. Artists
and creative practitioners instinctively think in communities and collectives, informing the development
of styles and vogues, but this can lead to stylistic tursm and cliques. We need groupings that can
overcome artistic differences to think about creating strategies to support self-sustaining and shared
livelihoods. From artists who have found themselves cut-out of the funding system, to artists inspired
and motivated by ideals to others who are simply trying to opt-out of traditional structures, there are
currently many different constituencies who would benet from coming together.
This exchange of knowledge and tactic-sharing should be a part of all artists formal education,
supported by venues and institutions and should be facilitated by local networks; encouraged through
funding and supported through further professional development opportunities. There are a few places
we see this starting to happen - in the theatre forum Devoted and Disgruntled, the Imagine2020 network,
in Occupy Museums, Live Art Development Agency, a-n The Artist Information Company, Artquest,
Revolution and others.
The availability of opportunities to participate in such networks, and their take up by artists could offer an
indicator to assess whether or not progress is being made.
3.1.2 Pooling Risk
Artists and creative practitioners often say yes to work that comes along because there is a fear about
when the next commission may materialise. This brings risks. Financial risks of late-payment and being
in arrears. Task-based risks of not being able to realise an unprecedented and untried artistic project.
Operational risks associated with time management and capacity.
Collaboration between artists could establish a safety net for different kinds of risks. Some devices and
models for achieving this already exist. They include: joint purchasing schemes, online skills exchange
platforms like the about-to-be-launched Backscratchers, the services of SmartEU, and timebanking
structures for the pooling of skills. More detail on the mechanisms to enable this are set out in a previous
MMM report Capital Matters.
22
When artists of national and international standing come into the local area to perform or work in local
settings for instance, there should also be a heavy focus on skill sharing with local artists so that their
visit can benet and enhance the capacities of local artists and creative practitioners.
Greater levels of collaboration achieved through such tools could mean that the burden of too much
work can be shared and provide a potential to collaborate when ones own work is low. It could also bring
a sense of safety and security and in turn lead to enhanced self-reported wellbeing by the artists and
creative practitioners.
22 Capital Matters, MMM, 2011: http://www.missionmodelsmoney.org.uk/programme/capital-matters/
30
An indicator could be improvements in well-being as reported through an interrogation of national ONS
well-being data over time. Similarly, an increase in social media activity between artists and creative
practitioners; an increase in artists and creative practitioners working for other artists and creative
practitioners or even an increase in artists and creative practitioners going to each others shows could all
represent the local value that is being generated.
3.1.3 Opening up space
Access to affordable, amenable and exible space is critical to supporting artists and creative
practitioners in developing their own work. More than this stakeholders believed it was also an essential
way of encouraging the networking and collaboration between artists and creative practitioners described
above.
There was a sense that positive change would occur if the community of artists and creative practitioners
had access to space and platforms to network, organise, speak with one voice and forge champions
within the community. It was felt that these open spaces could be a place where artists and creative
practitioners could base themselves and develop their own networks. This cause could be supported by
the active promotion of examples where emergent artists and creative practitioners have successfully
come together and collaborated through a space.
There is clearly a question as to where this space would come from. There is no need for new spaces to
be created rather that existing space is used to the maximum. Organisations could perhaps collaborate to
list their spaces (and events that will take place there) and even make it possible to hire available spaces
online either at low cost or through a barter exchange. In this way artists and creative practitioners
can become exemplars in the sustainable use of resources. Public bodies could audit space within the
community (both artistic and cultural as well as civic and social) and providing low-cost or free use
of empty space. The creation of a system or web platform to crowd-source and redistribute these
assets would be essential, the US site OurGoods
23
, self-described as a barter network for the creative
community, is a useful model but there are many other possibilities. More equal collaborations can then
replace unbalanced power relationships, leading to more creative and powerful work.
Based on this sustainable use of space, there are some alternative indicators that can be used to help
assess whether cultural value is being attained. For example the number of events and social activities on
offer in local cultural spaces; a reduction of ofcial networking events in spaces as artists and creative
practitioners are holding their own. Taking this further would be assessing to what extent other spaces
available in the community are being accessed by artists and creative practitioners.
Furthermore being able to demonstrate the wider outcomes of a thriving community of artists and
creative practitioners was seen as vital (e.g. well-being; quality of life or social cohesion outcomes for
both artists and creative practitioners and the community). Indictors for these qualities could be cross-
referenced with evidence of communities with a higher than average concentration of artists and creative
practitioners to evidence correlation.
3.2 New imperatives and trade-offs for funders
Practising livelihoods, pooling risk and opening up space require public and private funders, arts and
cultural organisations and artists and creative practitioners to root their work in the principles of
23 OurGoogs, https://ourgoods.org/
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sustainable development and not simply production and consumption of cultural products.
This means new choices and shifting funding priorities from subsidy to sustainable investment strategies.
Much of the public investment that has been made over previous decades into bricks and mortar and
infrastructure of cultural and arts organisations could be released by requiring all organisations that work
with arts and culture to develop strategies that contribute to sustainable livelihoods for the artists and
creative practitioners with which they work or who could benet from accessing their platforms.
Public and private funders can create a greater diversity of nancing mechanisms, including ones which
help artists and creative practitioners plan for and develop sustainable livelihoods so that society
benets from increased levels of and diversity of artistic and creative practice and enhances its innovative
capacity. This might mean not only funding a festival but also under-writing a bank loan for a housing
co-operative to provide combined rehearsal/living for artists; not only funding major commissions but
also providing a service to artists to help them negotiate the difcult process of acquiring unused space;
not only providing individual material or equipment grants but also negotiating directly with suppliers
for group discounts or creating a readily accessible shared resource; not only subsidising professional
development for artists in the region but also supporting time banks that make it easier to exchange and
support knowledge and skills that already exist; and it could also mean structuring funding in ways that
necessitate collaborating with other non-arts or community-based organisations.
Supporting artists lives at the points they touch the real world, in this way, should ultimately lead to a
better public understanding and appreciation of the arts - it should be less necessary to be constantly
making the case. A record of the number of artists working and volunteering in the community outside
and within their main area of activity (both in terms of the hours of time spent and the range of ways of
donating time/ resources) could also illustrate the extent to which artists are currently collaborating with
others. Primary research using standard national indicators from the Place Survey and/ or Citizenship
Survey would help support an understanding as to whether there has been a local improvement in
community connection and understanding.
But there remains a critical role for public and private funders and organisations to collaborate in
developing and disseminating evidence of impact across the whole range of values identied and to
incentivise the opening up of existing assets and infrastructure. Evidence of impact, we suggest, should
shift understanding from isolated institutional outcomes towards a systemic approach to sustainable
development based on an active theory of change and drawing on understandings from environmental
economics, international development and creative placemaking.
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Conclusion
We would like to imagine a future where there is a virtuous connection between art and culture and the
sustainability of places. Where a key indicator of a vibrant, thriving community would be the number of
artists and creative practitioners in it. Where the institutional support for arts focuses on maintaining the
livelihood of artists, and the livelihoods of artists strengthens the institutions and day-to-day life of the
places they live and shows that a place has become collectively better, stronger and wiser.
This is a distant vision. At worst, policy drivers today frame art only as valuable in as far as it contributes
to the quest for economic growth, or as a luxury, growth affords.
24
This logic creates a popular folk-
wisdom about artists and creative practitioners, which says that expensive art is important art and that
an artist is like any other producer - without a moral, political or spiritual role. As public understanding of
what art is narrows, the public become less interested in who gets to make it and less concerned about
cuts to funding streams that sustain it. As the idea and purpose of art is impoverished, so too are the
livelihoods of the artists who struggle not to conform to it.
In a 2012 television debate about arts funding in Ireland, artist Sean OSullivan made the point from
the audience that we live in a society, not an economy. He expressed a sentiment that many artists
feel, not just because the system of funding that sustained their work is being dismantled, and the
politicians arguments for solidarity have withered, but because the values behind so much artistic and
creative practice go against so much prevailing prescriptions. Art can be more than simply a pretext for
the spending and circulation of money, it can be a pretext for the circulation of stories, arguments and
dilemmas and a social occasion for meeting friends and neighbours, family and lovers. Its production
breathes life into the public, helps communities see what they have and the pretext for exchanging ideas
and values. In other words it demonstrates ways to be within, and beyond prevailing market logic.
If our future is to grasp the challenges of climate change, resource scarcity and social injustice and the
need for a transition to a more sensible way of living, we need to nd better ways to dene and evaluate
the peculiar set of values which culture inhabits and its potential to work across the full spectrum of
outcomes necessary for the sustainable well-being of community or society. These values, which can
be measured using the kinds of indicators suggested and developed by nef amongst others, encompass
personal development and well-being; awareness and action on bigger than self concerns; the collective
building of social and cultural capital in the shape of habits of engagement and benecial networks. We
could do much more to gather evidence and examples, we need to practice the art of living dangerously.
24 Culture Secretary Maria Miller, Testing Times speech, DCMS, April 2013: https://www.gov.uk/government/speeches/testing-times-
ghting-cultures-corner-in-an-age-of-austerity
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What Next?
We hope this report and the suggestions it puts forward take us a little further than simply rehearsing the
well-known poverty of most artists, or the question marks over which comes rst, the arts or the growth.
Within the Exchange/MMM/nef project we have brought together a diverse set of interests and ideas. Our
work in creating this provocation has been itself an exercise in living dangerously, pushing ourselves beyond
our usual positions and practices. The ideas here are intended to be contested and constructively and
creatively developed. As we said at the beginning of this paper, it is an incomplete picture, the start of telling
a new story and one we hope will be discussed, contested, critiqued and added to. It is our hope that it is a
provocation to all of us that fuels and encourages further enquiry and research in the UK and elsewhere.
To begin that process of enquiry, we are proposing ten questions to dene practical answers to.
Ten questions for the art of living dangerously:
How can everyone working with arts and culture:
1 Develop a more holistic view of the impacts of arts and culture, exploring the diversity of
values and views so that people benet from the full spectrum of impacts arts and culture can
have, leading to improved quality of life for individuals and communities?
2 Take risks in what they do, and how they do it so that everyone involved continues to learn,
innovate and inuence society as a whole?
What will incentivise public and private funders and all those involved in making and inuencing policy to:
3 Create a greater diversity of nancing mechanisms, including ones which help artists and
creative practitioners plan for and develop sustainable livelihoods so that society benets from
increased levels of and diversity of artistic and creative practice and enhances its innovative
capacity?
4 Root their work in the principals of sustainable development not simply production and
consumption of cultural products so that arts and culture supports artists and creative
practitioners and local communities wellbeing, ultimately leading to healthier, more resilient
people and places?
5 Ensure infrastructure, policies and decisions contribute to artists sustainable livelihoods so
that artists can develop their lives and practice in more effective ways, leading to better work
with more impact?
6 Require all organisations that work with arts and culture to develop strategies that
contribute to sustainable livelihoods for the professional artists they work with so that equal
collaborations can replace unbalanced power relationships, leading to more creative and
powerful work?
How can more artists, creative practitioners and arts and cultural organisations:
7 Actively plan to develop sustainable livelihoods and income streams as well as their artistic
practice so that they can make positive choices and not compromise life for art or art for the
bills?
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8 Spend time together reecting on both their livelihoods and their practice and share
conclusions so that they can learn from diverse experiences and ideas and ultimately make
better work with greater impact on where they live and work?
9 Collaborate to make sure all available physical spaces and digital platforms are used well so
that they become exemplars in sustainable use of resources to be widely copied?
10 Work with their artistic communities and audiences to develop plans for improving the
sustainability of artists and creative practitioners so that all involved can contribute to well-
being on an equitable footing, benetting from genuinely diverse ways of thinking and doing?
To help us all learn the art of living dangerously, the partners involved in this report, Exchange, MMM and
nef call for:
No more unused spaces that could be available for creative or community use
More engagement between artists and creative practitioners, arts and cultural organisations
and the well-being of communities and places
More risk taking made possible
More shared learning from every risk taken to shape the next thing
A whole-hearted, whole-system embrace of the full range of things that culture can do - not
just instrumental, not just intrinsic, not just aesthetic, not just social, not just tourism and
entertainment, not just great, not just artists, not just audiences, but - arts and culture for all
of our sake.